'Unsound' from Mission of Burma
Out 7/10 (US) 7/9 (UK) on Fire Records.

From the outset, ‘Unsound’ was not going to be like any other Mission of Burma
album. As expected, the material is raw, primal and aggressive. They still have a
signature knack for twisting even the most ferocious noise into complex structures.
There are, of course, those killer hooks scattered throughout, but just not quite
where you would expect. Yet with all three lead members resolutely making the
decision to deliberately stretch their boundaries even further, they stepped out of
their comfort zone to create their most rewarding, bewildering and multifaceted
long-player yet. With a new label home, ‘Unsound’ will be released on Fire Records
in July.

‘Unsound’ is Mission of Burma’s fth studio album, continuing their remarkable
legacy. It seems redundant now to even call it a comeback because they’re a
dynamic, current band. Originally together just four years, from 1979-83, Mission of
Burma reformed in 2002 for a handful of shows…which let to more concerts, then
more, and eventually the release of 2004's "ONo ON", their rst new recording in
over twenty years. But no one expected them to just keep putting out records, let
alone records that were every bit as vital and in uential as their seminal early
recordings. Their rst album ‘Vs’ is down in the annals of time as being one of the
most important post-punk records ever. Their subsequent recordings: "ONo ON",
"The Obliterati", "The Sound, The Speed, The Light", and now, "Unsound", continue
to grow in scope, depth and accomplishment with every step.

On "Unsound" we see Mission of Burma messing with their comfort zone by
recording in their Boston rehearsal space which doubles as a recording studio:
Analog Divide. As usual, Roger Miller (guitar, vocals), Clint Conley (bass, vocals) and
Peter Prescott (drums, vocals) share the songwriting credits with their distinct
styles. All of them tried their hand at other instruments and sounds, allowing them
to take risks with their creativity and giving them a more uid line-up. Of course,
regular fourth member Bob Weston (of Shellac) was on hand to provide the tape
loops and production duties.

As part of the manifesto to stretch musical boundaries, Roger wrote two of his
songs (“Opener” and “ADD in Unison”) on the bass rather than guitar. Another
("Dust Devil") was based on an acoustic guitar improvisation. Both Clint and Peter
also tweaked their writing just enough to make them feel it was actually
worthwhile making another record. They also decided to use trumpet on the
record, so Bob pulled out his trumpet playing skills to oblige. Peter Prescott
describes the experience: “We are a four headed hydra trying to create unity
without canceling or censoring each head. So we juggle melody, groove, noise,
depression, disruption, ecstasy… tension, release. I guess it’s thrilling for us to walk
that musical tightrope.”

Clint Conley describes being in the studio: “There were certain technological
advances, as well, that might have been unthinkable just a few short years ago, in
a distant time and century. During the mix at Woolly Mammoth, Peter occasionally
opted for a virtual presence. From time to time a hologram of his head would
appear, hovering in a darkened corner, issuing directives and encouragement. Not
to say there weren't occasional glitches in the system. For a few days the hologram
seemed locked in a mystifying loop, calling for more cymbals, regardless of
whether the band were working on a mix or ordering Vietnamese food.”

The results are spectacularly successful. With ‘Unsound’, Mission of Burma has
achieved its goal of making something utterly unique and stretching the realms of
musical possibility. Mission of Burma's curiosity and creativity remain
undiminished. The graph just keeps rising…the boundaries breaking…and the
ears ringing. Long may it continue.

Vit à Paris. Publie via son blog et dans quelques revues littéraires, participe à des lectures, des performances. Travaille à l'émergence d'une forme plus longue ainsi qu'à un recueil de textes et d'images. Un album de poésie/rock réalisé avec le guitariste Yan Pechin a vu le jour en mai 2013. Volante et non identifiée, un peu inadaptée, difficile à rassembler et accessoirement peuplée de tout un tas de filles qui vivent dans son corps. Se charge donc du sale boulot, écoute leurs voix, démêle puis retranscrit, histoire de s’en délester et d’en faire quelque chose. Alors ici en vrac, les titres de l'album "Toutes ces filles qui vivent dans mon corps" à retrouver plus facilement sur le bandcamp et quelques textes seuls enregistrés avec les moyens du bord.&#13;
<a href="http://creativecommons.org/licenses/by-nc-nd/3.0/deed.fr" rel="nofollow" target="_blank"></a><br />Toutes ces filles qui vivent dans mon corps de <a href="https://soundcloud.com/lafilledesastres" rel="nofollow" target="_blank">Céline Renoux/Yan Pechin</a> est mis à disposition selon les termes de la <a href="http://creativecommons.org/licenses/by-nc-nd/3.0/deed.fr" rel="nofollow" target="_blank">licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Pas de Modification 3.0 non transposé</a>.<br />Fondé(e) sur une œuvre à <a href="http://lafilledesastres.com/" rel="nofollow" target="_blank">http://lafilledesastres.com/</a>.

'These guys are gonna be mega' - John Cooper Clarke

‘You Are Here’ is sprawling and overwhelming. Shaky guitar lines fade between rushing drums and anxious tremolo lead lines’.
Consequence of Sound

‘If Ordinary Noise continue making music this impressive they’ll be a whole lot bigger than a dot on the musical landscape.’
Songwriting Magazine

'It is a rarity to find such a fresh band with such obvious authenticity and broad, retrospective lyrics.' 
Music Week

‘Like nothing you’ve heard before, indeed. Effortless and natural, and every track is packed with variety both brazen and discreet.’
Never Enough Notes

For CDs, T-shirts and the likes visit https://tradiio.com/ordinary-noise/circle

We're not the best, but we're pretty good.

K: a conspiracy of gravediggers, spies, swim instructors and international pop stars. There are hangmen and there are saints. K as a label has released cassettes, phonograph records and compact discs documenting the audio works of over 150 artists. The main focus K of has been artists working in and around Olympia, Washington, where K is based, but has included comrades from across the U.S.A. and as far away as Japan, Scotland, Australia, Canada, Germany and England. Yes, k explodes the teenage underground into passionate revolt against the corporate ogre world-wide.

Colleagues in the International Pop Underground collide at the K vanishing point. The sounds cross back and forth through a number of genres, some known and some less so: punk, hip hop, atom-powered folk-pop, haunted garage, restless singer-songwriter, epic soul shock, noise expirements, blurred-eye visionary psychedelia, roadhouse mod and the silent film soundtracks composed by Timothy Brock, as performed by the Olympia Chamber Orchestra.

In describing K to a friend, you might say: Hit the streets to the motorbike beat of the cranked and crush crashpop. Raise the standard and hail: a revolution come and gone behind your eyes. Blood and sand and sidewalk. Radio blast the punk pop implosion that is the new breed: a bee in your bonnet, love in a goldfish bowl, zombie rockin behind the iron curtain. Hey, love rocker, pull on your slacks and Mexican army boots, get ready for some sonic pogo action. Jazz the glass, here they come, screaming and clawing, scooters and dune buggies roaring. Bless. Can you dig it? K Collaborators. King loser and teenage underground. Screech and saw. Buzz. Cut. Spin. Slice. Crush. Squirt. Sweaty basement rock and rule. A crown of barbed wire for your hooded throne. Lose it on the ball and chain.

Hey, gravedigger: ignite. 

Host of WGXC 90.1-FM's "Snackpoint Charlie"
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